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Arranged in the following series: I. Compositions. II. Sketchbooks. III. Teaching materials. IV. Biography/personal. V. Composition miscellanea. VI. Music societies. VII. Subject files. VIII. Personal correspondence. IX. General correspondence. X. Miscellanea.; thereunder arranged alphabetically or by type of material.
Although born in Paris, Idaho, 125 miles north of Salt Lake City in the colorful Bear Lake Valley, Arthur Shepherd has always been claimed by Utah as one of its most distinguished sons.
The younger generation would not remember his tremendous contributions to our local culture; oldsters will never forget what he did. The past three and one-half decades of his life were spent largely in Cleveland, where he became the most influential moving force in that city's musical development--as music critic for the Cleveland Press, assistant conductor of the Cleveland Symphony Orchestra, program annotator for the orchestra, concert pianist and chairman of Western Reserve University's first-rate music department.
In the latter post he exerted influence in the nation's national music organizations, particularly MTNA (Music Teachers National Assn.) and NASM (National Association of Schools of Music). And yet, it was in none of the aforementioned capacities that he made his most significant contributions--but rather, in the area of composition. He cut a tremendous swath, both nationally and internationally, as a composer. His works have been widely performed both in this country and abroad. Utah Symphony, under Maurice Abravanel, performed his "Horizons" during the 1952-53 season and his "Overture to a Drama" earlier.
Arthur Shepherd was cosmopolitan in outlook, a recognized figure in the music world; yet, at the same time, he loved his periodic visits to his "home" in Salt Lake City where his brothers Albert and Charles made such lasting contributions in the string and piano fields.
His "Overture to a Drama," composed in 1919, received four performances by the Cleveland Orchestra alone, the last being "illuminated by an impassioned performance under George Szell," according to the feature story in the April 1950 issue of
Arthur Shepherd entered the New England Conservatory at the tender age of 12. There, for five years, he studied with Chadwick, Goetschius and others. Graduating from the conservatory with honors at 17, he returned to Salt Lake City where he remained during the next 11 years. Here he received his "boot" training as conductor of the old Salt Lake Theater Orchestra and the Salt Lake Symphony Orchestra, "grandfather" of the present-day Utah Symphony. During these years, too, his star as composer began its ascent. An "Overture Joyeuse" earned for him the initial Paderewski prize of $1,000 in 1902--a good-sized sum by present-day inflation standards.
In 1920, at the age of 40, he moved to Cleveland, remaining there until his death last week.
His best known works, "Triptych," the Second Piano Sonata, and "Horizons," Foundation award in 1928, received performances following its composition by the major orchestras of this country and by others as far off as Paris, Prague and Warsaw.
Upon retiring from his Western Reserve post in 1948, he was immediately signed for guest teaching at Columbia University. In 1952-53, at the invitation of Dr. Leroy Robertson, he accepted a similar short-term situation at the University of Utah. Dr. Robertson has written of Shepherd:
"I feel a great personal loss in the passing of Arthur Shepherd. As a boy I held him in high esteem as a composer, although I knew of him only by reputation. After our meeting in later years we became close friends."
"With Cyrus E. Dallin and Mahonri Young, two other prominent Utah artists of his generation, Arthur Shepherd has brought widespread respect and renown to our state."
Arthur Shepherd was born in 1880 and died in 1958.
(This biograhy was taken from a 1958
Collection Name, Collection Number, Box Number, Folder Number. Special Collections, J. Willard Marriott Library, The University of Utah.
Processed by Dorothy Van Stipriaan, Helen B. Folland, and others in 1977-1999.
Processed by Emma McFarland in 2011.
Arthur Shepherd was born on February 19, 1880 in Paris, Idaho, to Emily Mary Phipp and William Nathaniel Budge Shepherd. The Shepherds were members of the Church of Jesus Christ of Latter-Day Saints, and Arthur Shepherd was raised in the faith. William N.B. Shepherd composed the hymn "Give Us Room That We May Dwell," and the family supported Arthur Shepherd is musical pursuits as a child: he performed with the Paris Brass Band and the Bear Lake Stake Choir. At the age of twelve, Shepherd entered the New England Conservatory in Boston, Massachusetts, graduating in 1897. After graduating, Shepherd returned west, rejoining his family in Salt Lake City, Utah, where they had moved.
Between 1897 and 1909, Shepherd worked in various aspects of music in Utah. He served as conductor of the Salt Lake Theatre orchestra and played chamber music. Shepherd offered private lessons in music theory and piano. He also organized and conducted the Salt Lake Symphony Orchestra, the forerunner of the Utah Symphony. During this time, Shepherd also began receiving recognition for his work as a composer: in 1905 he won the Paderewwski Prize for his composition Overture Joyeuse and in 1909 he received first prize in the National Federal of music Clubs for his Sonata for the Pianoforte.
In 1909, Shepherd returned to Boston, and in 1910 he began teaching at the New England Conservatory and served as conductor at the St. Cecilia Society. When the United States joined World War I, Shepherd enlisted and served as bandmaster of the 303rd Field Artillery. In 1920, Shepherd was recruited by Nikolai Sokoloff to serve as assistant conductor and program annotator for the Cleveland Orchestra. Shepherd also lectured at Cleveland College and in 1927 resigned from his position as assistant conductor to take a job teaching at Western Reserve University, where he was involved in the founding of the music department, which he chaired, and the development of its program in experimental opera. Shepherd retired from this position in 1950. Throughout his career, Shepherd composed over 100 works. In addition to his continuing work as annotator for the Cleveland Orchestra and his work as a composer, Shepherd served as the music critic for the Cleveland Press.
On March 5, 1903, Arthur Shepherd married Hattie Hooper Jennings; together, the couple had four children. Shepherd's experiences in World War I led him to distance himself from the Church of Jesis Christ of Latter-Day Saints and put pressure on his marriage, and Arthur and Hattie Shepherd divorced around 1920. On May 27, 1922 Arthur Shepherd married Grazella Puliver; together, they had one son.
Arthur Shepherd died on January 12, 1958 in Cleveland, Ohio, and was buried in Salt Lake City, Utah.
Photographs (P0103) and audio-visual (A0103) materials were transferred to the Multimedia Division of Special Collections.
Original pen manuscript.
Original pen manuscript with separate parts.
Composed for the twenty-fifth anniversary of the League of Composers and performed under the composer's direction in 1942. For flute, oboe, horn, bassoon, violin, viola, and cello. Original pen manuscript with separate parts.
Tempo di minuetto. For piano and winds. Pencil sketches only.
Original pen manuscript.
Original pen manuscript with revisions.
Original pen manuscript with composer's notes.
Bound copy marked "obsolete."
Bound copy.
String parts. Pen manuscript.
String parts. Pen manuscript with composer's notes.
String parts. Copy with composer's notes.
Score A, original pen manuscript (incomplete). Movements 2, 3, and 4. Parts A, original pen manuscript of parts.
Score B, original pen manuscript (complete). Parts B, for movements 1, 2, and 3 for violins and viola, original pen manuscript. Parts B, for movements 1, 2, and 3 for cello, original pen manuscript.
Original pencil sketches.
Score, movements 1, 2, and 3 (complete). Original pen manuscript.
Parts, violin 1 for movements 1 and 3; violin 2 for movement 3; viola for movements 1 and 3 (original pen manuscript); cello for movement 3.
Parts for violins, viola, and cello. Original pen manuscript.
Score and parts. Pen copies of original manuscript.
Score and parts. Bound copies, books 1-5.
Original pencil sketch.
Score. Original pen manuscript.
Parts. Original pen manuscript with composer's notes.
Parts. Original pen manuscript marked "old parts."
Score D. Reduced copy.
Score C. Negative copy.
Score A. Original pen manuscript.
Parts. Set "C." Original pen manuscript.
Parts. Set "D." Originals and copies.
Photocopy of complete score.
Trio. Violin solo part.
For high voice and string quartet. Words from "Gitanjali" by Rabindranath Tagore. Published by the Society for the Publication of American Music in 1927. Composer's original manuscript listed as
Score for voice and piano. Original manuscript.
Parts with notes from composer.
Published reduction for piano and voice. First edition.
Published piano and vocal score. Parts for each of the strings. Second edition.
Score A. Original pen manuscript.
Score B. Original pen manuscript.
Published copy by Maurice Senart, Paris, France.
Poem by Sidney Lanier. Original pencil sketch. Original pen manuscript. SATB with rehearsal piano part.
Poem by Oliver Wendell Holmes. Original pen manuscript on thin paper. Three original pen versions marked "no good." SATB with piano accompaniment.
Poem by Bliss Carman. "Poem for orchestra, chorus of mixed voices, and baritone solo." Vocal score only (chorus, solo, and piano reduction). Published by Boston Music Company.
Poem by Richard Hovey. Pencil sketches. Original pen manuscript. TB with rehearsal piano part.
Poem by Johann Frank. SATB with organ accompaniment. Published by Boston Music Company.
Source of words not given. Original pen manuscript, SATB.
Poem by Gary Merit. SATB, baritone solo and full orchestra. Copies of violin 1 and 2, cello, and contrabass parts. Vocal score published by C. C. Birchard and Company.
An arrangement by Shepherd of a song by Sergei Rachmaninoff with words by N. A. Nekrasof. Accompaniment published by the Boston Music Company.
Poem by Louise Driscoll. Pencil sketch. Original pen manuscript, S 1 and 2, ATB. Photocopy of corrected edition. Published copy by Arrow Music Press Inc.
Poem by Alfred Noyes. For male chorus. Four original pen manuscripts, some revisions. Copies of parts.
Translated from the Latin by J. Chandler. SATB with organ accompaniment. Published by the Boston Music Company.
Poem by Sidonius Apollinaris, fifth century B.C. Pencil sketches.
Score for chorus and full orchestra. Original pen manuscript.
Accompaniment arranged for two pianos. Original pen manuscript plus one copy.
Orchestra parts. Original pen manuscript.
SATB and piano accompaniment. Original pen manuscript.
Copy of original with composer's notes. Another copy added in 1981.
Mimeographed copy of vocal parts.
SATB, baritone, and orchestra. Original pen manuscript. Complete set of orchestral parts.
From the oratorio,
Words by Thomas Campbell. Male chorus (TTBB) with piano accompaniment. Original manuscript and copy. Orchestra parts, original pen manuscript. Two piano arrangements for accompaniment in original manuscript. Male chorus and orchestra in original manuscript. Published by Boosey Hawkes Belwin, New York.
Words by Nancy Byrd Turner. SATB with piano accompaniment. Original manuscript. Copy of full score plus copy of vocal parts only.
Poem by Robert Frost. For mixed voices acappella. SATB with piano reduction. Original pen manuscript. Pencil manuscript for SSATTB. Pen manuscript revision including piano reduction (both 3 and 4 are unfinished). Copy of vocal parts.
Original manuscript for mixed chorus and piano or organ.
Poem by Walter de la Mare. Original manuscript on thin paper. For S 1 and 2 with piano accompaniment. Score for pianist with indications for sections of the accompaniment to be played by strings. Parts for violin 1 and 2, viola, and cello.
Poem by William Sharp. Pencil sketch. Original pen manuscript for ful orchestra and three part women's chorus. Complete set of parts. For SSA and piano accompaniment. Published by Arthur P. Schmidt, New York.
Text by Eben Tourjee. SATB with organ accompaniment. Original pen manuscript. Published by C. C. Birchard and Company.
Poem by Florence Ellinwood Allen for chorus and piano accompaniment. Original pen manuscript.
For chorus and piano accompaniment. Copy of original pen manuscript.
For chorus and piano accompaniment. Original pen manuscript with parts of accompaniment arranged for two pianos.
For chorus and piano accompaniment. Two copies of vocal score.
For chorus and piano accompaniment. Bound copy of original.
For chorus and orchestra. Pencil sketch.
For chorus and orchestra. Original pen manuscript.
For chorus and orchestra. Complete orchestra parts.
For chorus and orchestra. Bound copy of full score.
Poem by Rupert Brooke. Cantata for chorus (SATB), tenor solo, and orchestra. Pen and pencil sketch.
Original pen manuscript for chorus and piano.
Score. Original pen manuscript.
Parts. Complete set for orchestra and pianoforte.
Score. For chorus and piano and vocal parts. Published by C. C. Birchard, Boston.
Score. Original pencil manuscript. Part of movement 1, all of movements 3 and 4.
Score. Original pencil sketch of piano score of movement 4.
Original pen and pencil sketch of movements 2, 3, and 4.
Bound copy of original pen manuscript of full score of movements 1 and 2.
Bound copy of original pen manuscript of full score of movements 3 and 4.
Original pen manuscript for harps 1 and 2; celesta; flutes 1, 2, and 3; piccolo; oboes 1 and 2; and English horn.
Original pen manuscript for clarinets 1 and 2; bass clarinet; bassoons 1 and 2; contrabassoon; and horns 1-4.
Original pen manuscript for trumpets 1-3; trombones 1-3; tuba; xylaphone; wood block; tambourine; snare drum; triangle; ancient cymbals; and timpani.
Violin solo part. Original pen manuscript.
Piano score. Original pen manuscript.
Complete score. Original pen manuscript.
Parts. Original pen manuscript for violins 1 and 2; viola; cello; and bass.
Parts. Original pen manuscript for piccolo, tuba, flutes, oboes, clarinets, adn bass clarinet.
Parts. Original pen manuscript for bassoons, horns, trumpets, trombones, timpani, and celesta.
Score. Original pencil manuscript for full orchestra.
Score. Original pen manuscript for full orchestra.
Pen copy of organ solo with optional vocal solo or unison chorus.
Two bound copies of revised versions for full orchestra with composer's notes. Copy of published score.
Orchestra parts. Original pen manuscript. Single pen originals for harp; celesta; flutes 1 and 2; oboes 1 and 2; English horn; clarinets 1 and 2; bass clarinet; bassoons 1 and 2; contrabassoon; horns 1-4; trumpets 1-3; trombones 1-3; tuba; timpani; snare drum; cymbals; bells; gong; and glockenspiel.
Added in 1981.
For full orchestra. No copies of horns, trumpets, trombones, tuba, English horn, or timpani. Score. Original pencil manuscript.
Score. Original pen manuscript.
Score. Copy of manuscript with composer's notes.
Original pen manuscript of arrangement for piano, four hands.
Original pen manuscript of orchestra parts for violins 1 and 2; viola; cello; and contrabass.
Copies of orchestra parts for violins 1 and 2; viola; cello; contrabass; flute 1; oboe 1; clarinets 1 and 2; bassoon 1; horn 1; glockenspiel; snare drum; cymbal; and triangle.
Pencil sketches.
Score A. Original pen manuscript of two-piano arrangement (listed as "Fantaisie Humoreske.")
Score B. Original pen manuscript of solo piano part.
Score C. Original pen manuscript, red cloth binding.
Score D. Original pen manuscript, green cloth binding.
Original pen parts with composer's notes for violins 1 and 2; viola; cello; contrabass; piccolo; flutes 1 and 2; oboes 1 and 2; clarinets 1 and 2; bassoons 1 and 2; horns 1-4; trumpets 1 and 2; trombones 1-3; tuba; timpani; triangle; and cymbals.
Score. Published by the Julliard Musical Foundation. Program notes by George H. L. Smith.
Original pen manuscript of four-hands piano arrangement of movement 3 (Scherzo), "The Old Chisholm Trail."
Copy of original pen manuscript of string parts, movement 1, "Westward."
Copy of original pen manuscript of string parts, movement 2, "The Lone Prairie."
Copy of original pen manuscript of string parts, movement 3, "The Old Chisholm Trail."
Copy of original pen manuscript of string parts, movement 4, "Canyons."
Copy of original pen manuscript.
Original pen manuscript for two pianos.
Original pen manuscript of full score.
Scores. Published by C. C. Birchard and Company, with composer's notes.
Complete set of parts with composer's notes.
Original pen and pencil manuscript, full score.
Original pen manuscript with composer's notes and handwritten dedication to Betty and Dudley Blossom.
Original pen manuscript. Complete set of parts with composer's notes.
Pencil sketches.
Score in bound volumes. Each is original pen manuscript of full score with composer's notes.
Original pen manuscript of composer's arrangement for four-hand piano.
Original pen manuscript for all string parts.
Original pen manuscript of parts for horns 1-4; trumpets 1-3; trombones 1-3; tuba; timpani; snare drum; cymbals; triangle; gong; glockenspiel; and xylophone.
Original pen manuscript of parts for harp; flutes 1-3; piccolo; oboes 1-2; English horn; clarinets 1-2; bass clarinet; bassoons 1-2; and contrabassoon.
Pen and pencil sketches, bound and unbound copies.
Original pen manuscript of complete score.
Original pen manuscripts of parts for violins 1-2, viola, cello, and contrabass.
Original pen manuscript of parts for flutes, oboes, clarinets, and bassoons.
Original pen manuscripts of parts for horns, trumpets, trombones, tuba, timpani, snare drum, triangle, glockenspiel, xylophone, tambourine, cymbals, and wood block.
Bound copy of full score with composer's note and inserts.
For full orchestra. Score. Original pen manuscript (bound copy).
Overture for concert band. Score. Original pen manuscript.
For full orchestra. Score. Original pen manuscript.
For full orchestra. Score. Original pen manuscript.
For full orchestra. Score. Original pen manuscript.
Original pen manuscript of parts for violins, viola, cello, contrabass, flute, oboe, clarinet, and bassoon. No full score.
Original pen manuscript. Pen copy with composer's notes and slight revisions. Original pen version of the fugue in the piano score (two staves).
Original pen manuscript.
Original pen manuscript. Pen copy of original. Negative copy.
Original pencil manuscript. Published copy, Carl Fischer, New York.
Pencil sketch. Original pen manuscript. Thin paper copy. Negative and one copy.
Original pen manuscript.
Original pen manuscripts and pen copy. Pen copy with revisions. Original pen manuscript, revised.
Two copies of original pen manuscript, one marked "to be thoroughly revised" and one showing revisions. Two negative copies of origianl pen manuscripts. Photocopy of published version by G. Ricordi Company, New York.
Original pen manuscript. Photocopy of original pen manuscript.
Original pen manuscript. Two pen copies of original manuscript. Photocopy of original.
Two photocopies of original pen manuscript. Negative copy.
Three original pen manuscripts.
Original pen manuscript. Photocopy.
Original pen manuscript. Pen manuscript revised. Photocopy of original pen manuscript. Copy and negative of another revision.
Original pen manuscript.
Published copy, Oxford University Press.
Pen and pencil sketches. Two original pen manuscripts. Photocopy of original pen manuscript.
Original pen manuscript. Two pen copies of original manuscript. Photocopy of original pen manuscript. Negative copy.
Pencil sketch. Original pen manuscript. Photocopy of original.
Published copy, Carl Fischer, New York.
Photocopy of original pen manuscript. Pen copy on thin paper. Photocopy.
Original pen manuscript.
Original pen manuscript. Pen copy of original manuscript.
Pencil sketch. Pen copy on onionskin. Photocopy with revisions.
Published copy, Wa-Wan Press, Massachusetts. Published copy. Also published copy of
Original pen manuscript.
Original pen manuscript. Pen copy of original on onionskin. Two photocopies.
Original pen manuscript.
Original pen manuscript.
Original pen manuscript. Photocopy.
Original pen manuscript.
Photocopy of publication by Wa-Wan Press.
Original pen manuscript originall titled "Dance Episode." Pen copy on onionskin. Photocopy of onionskin.
Two copies of original.
Original pen manuscript. Negative and copy.
Original pen manuscript. Published copy, Boston Music Company.
Dedicated to Beryl Rubinstein. Photocopy of pen manuscript. Two published copies, both by Oxford University Press.
Original pen manuscript.
Original pen manuscript. Pen copy of original. Photocopy and negative.
To Hattie Jennings. Original pen manuscript.
Original pen manuscript. Pen copy on onionskin. Photocopy.
Original pen manuscript.
Original pen manuscripts.
Words by Sara Teasdale. For medium voice and piano. Original pen manuscript.
Words by Frank Dempster Sherman. A) for low voice and piano (Key of B)--original pen manuscript, two pen copies of original, photocopy. B) for high voice and piano (Key of D)--three pen copies, revised version of a copy, photocopy, negative copy. C) for medium voice (Key of C)--pen manuscript.
Words by Oliver Wendell Holmes. For high voice and piano. Original pen manuscript. Copy of original pen manuscript, revised. Photocopy of original.
Words by Thomas Campion. For high voice and piano. Original pen manuscript. Copy of original pen manuscript, revised and second revision. Negative copy.
Words by Goethe. Two pen manuscripts.
Words by Walter de la Mare. Original pen manuscript. Two pen copies. Original pen manuscript for pianist. Three pen copies on onionskin. Published copy. Negative copy.
Words by James Russell Lowell. 1)
Written for his sister, Josephine. Words by John Masefield. Original pen manuscript (Key of C). Pen copy on onionskin. Two photocopies of manuscript (Key of A), with revisions.
Original pen manuscript. Three pen copies of original. Photocopies, revised. Published copy.
For high voice and piano. Original pen manuscript.
Words by Siegfried Sassoon. For high voice and piano. Original pen manuscript. Pen copy revised. Photocopy. Negative copy.
Words by Heinrich Heine. Original pen manuscript.
Words by James Stephens. For high voice and piano. Original pen manuscript. Pen copy on onionskin. Two photocopies.
For two high voices and piano. Original pen manuscript. Pen copy on onionskin.
Words by James Russell Lowell. For voice and piano. Original pen manuscript.
Words by Richard Shepherd. Two-part song. Original pen manuscript.
Poem by James Russell Lowell. Original pen manuscript. Pen copies of original manuscript. Published copy.
Words by Thomas Heywood. For high voice and piano. Original pen manuscript (Score A). Three pen copies of original. Pen copy on onionskin. Photocopy. Negative copy.
Words by Siegfried Sassoon. Pencil sketch. Original pen manuscript (Score A). Pen copy of original. Photocopy. Published copy.
From the German of Casar Flaischlen. For high voice and piano. Original pen manuscript. Two pen copies. Photocopy. Negative copy.
Poem by James Russell Lowell. Original pen manuscript.
Poem by William Watson. For high voice and piano. Pencil sketch. Original pen manuscript.
Words by Heinrich Heine. Original pen manuscript.
Poem by Walter de la Mare. For high voice and piano. Pencil sketch. two original pen manuscripts. Two photocopies. Two negatives.
Poem by James Russell Lowell. For high voice and piano. Original pen manuscript. Pen copy of manuscript with pen copy of
Words by James Stephens. Original pen manuscript. Pen copy on onionskin. Photocopy with notes.
Words by Sacheverell Sitwell. For high voice, viola, and piano. Pencil sketch and pen sketches. Compelte score for voice, viola, and piano. Complete score on onionskin for voice, viola, and piano. Original pen manuscript of viola part. Photocopy of complete score. Photocopy of compelte score marked "obsolete."
Bound copy. 1)
Published separately in folio. 1)
Pencil sketch in D flat. Original pen manuscript in D flat. Pen copy on onionskin. Photocopy marked "pianists copy." Negative copy.
Words by Harold Monro. For mezzo soprano adn piano. Original pen manuscript. Pen copy on onionskin. Copy with composer's notes. Revised copy. Original pen manuscript with revisions.
Words by Edith Sitwell. For high voice, viola, and piano. Original pen manuscript. Pen copies on onionskin. Pen copy of separate viola part. Pen copy of revised manuscript. Two copies of complete score.
Words by Rowena Bennett. For medium voice and piano. Original pen manuscript. Photocopy of original.
Words by Sellmas O'Sullivan. Original pen manuscript. Pen copy on onionskin. Two negative copies. Published copy.
Poem by James Thomson. For high voice and piano. Original pen manuscript. Photocopy. Negative copy.
Poem by William Ernest Henley. For voice and piano. Original pen manuscript. Photocopy.
Words by James Russell Lowell. Original pen manuscript. Pen copy of original.
Poem by Oliver St. John Gogarty. For high voice and piano. Three pen manuscript (Key of D). Two pen manuscripts (Key of C). Pen copy on onionskin (Key of C). Photocopies and negative copy.
Poem by Walter de la Mare. For high voice and piano. Pencil sketches. Original pen manuscripts. Pen copy with slight revisions. Photocopy.
Original pen manuscript (high key). Pen copies of original manuscript. Photocopy of original pen manuscript for baritone and piano. Copy of original pen manuscript for baritone and piano, revised. Reduction and negative of manuscript for baritone and piano.
Words by Seosamh MacCathmhaoil. For high voice and piano. Pencil and pen sketches. Original pen manuscript with notes. Pen copy of original with revisions. Two photocopies.
Words by Madison Cawein. For high voice and piano. Original pen manuscript with revisions. Pen copy of original manuscript with revisions. Pen copy of corrected manuscript on onionskin. Pianists copy with pencil and pen sketches. Three photocopies and a negative.
Words by Dante Gabriel Rossetti. Original pencil manuscript.
Words by Frank Dempster Sherman. For full orchestra and mezzo. Score, original pen manuscript. Parts, original pen manuscript (except solo voice).
Words by Walter de la Mare. For string orchestra and mezzo. Score, original pen manuscript. Parts, pen manuscript (except solo voice).
Words by Walter de la Mare. For full orchestra and mezzo (in D flat). Score, original pen manuscript. Parts, pen manuscript (except solo voice).
Words by Madison Cawein. For full orchestra and mezzo. Score, original pen manuscript. Parts, three copies for each string part and one copy for other instruments.
Written by Shepherd while bandmaster of the 303rd Artillery Band in World War I. First sketch of
Sketch for
Miscellaneous sketches of piano pieces and songs. Several counterpoint exercises.
From
1. Counterpoint. Sixteenth century through twelve-tone practices. 2. Notes for advanced harmony class. Twelve-tone melodies with choral settings. 3. Examples of various harmonic and polyphonic practices from Shepherd's own works. 4. Settings of songs (1942). 5. List of projects for immediate future. Sketches for some of these.
1. Harmony class notes through secondary seventh, extended alterations, plagal method, parallel fifth and seventh. 2. Materials for analysis. 3. References to Hindemith text.
1. Plan for four-movement Symphonic Suite. 2. Piano sketches. 3. Polyphonic settings of model melodies.
1. Elementary harmony class notes (1943) progressing to somewhat more advanced material than that in Book 2. 2. Harmonizations of several chorale melodies. 3. Double counterpoint at the octave, tenth, and twelfth. 4. Examples in small form design. 5. Fugue subjects and answers by Arthur Shepherd.
1. Counterpoint. More detailed and extensive than Book 1. 2. Counterpoint for a beginning class, 1948. 3. Materials for elementary counterpoint class at Longy School, 1950. Somewhat different approach from the 1948 course.
1. Twenty-four texts for musical settings. Personnel indicated for most. 2. Outline of counterpoint course, 1949-50. First semester, strict counterpoint. Second semester, Bach-type counterpoint.
1. Examples of triple counterpoint. 2. Examples of motivic development. 3. Notes for course in small musical forms. 4. Counterpoint in 2, 3 and 4 voices. Fugue subjects and answers.
1. Course in small forms for the Longy School, 1950. Similar to course in Book 7. More detailed as far as it goes but less comprehensive.
1. Music history, 1927-28. Lectures 7 through 10 are missing.
Ancient music through the twentieth century. 31 lectures. 2. Materials for seminar in musical composition, 1931-32.
1. Music appreciation course for Cleveland College. 2. Music appreciation course for Cleveland College, 1931-32. 3. Music appreciation course for Cleveland College, 1932-33.
1. "Ruminations Before a Symphony." 2. Course in church music, Summer 1944.
1. Ancient Greek through the Troubadours and Troveres. 2. General history of the seventeenth century (emphasis on England and Germany). 3. Second semester history course, 1932 (seventeenth and early eighteenth centuries); 1937 (eighteenth and early nineteenth centuries). 4. Two examinations, one for a master's degree.
1. Incomplete notes on first semester course (mostly fourteenth and fifteenth centuries). 2. Detailed lectures on a two-year course (ancient music through the sixteenth century).
1. Continuation of Book 14 (sixteenth and seventeenth centuries). 2. Course from 1931-32 inserted in April lectures.
1. "Progressive stages of structural design in Musical Composition."
Detailed course in musical forms. Materials from 1936-45. 2. Harmonic analysis course, 1946-47. 3. Form analysis course, 1948. 4. Notes for composition course, 1948-49. 5. Inside back flap--notes from article on "Tonality," by Vincent d'Indy.
1. Course in music appreciation for Columbia University, Summer 1947. 2. Course in twentieth century music, 1900-ca. 1930 (background from 1860).
University of Utah Friends of the Libraries Keepsake No. 4.
By Grazella Shepherd for Richard Loucks giving interesting details of people she and Arthur knew and entertained in their home, people mainly from the music world. She reminiscences about their early years, their home and friends. The tape was made after the death of Arthur Shepherd and appears to be a source of the personal life of Shepherd for a biography which Loucks was writing and hoped to publish. Loucks's dissertation was completed in 1960.
Memorials, letters, etc.
Death and funeral services.
Funeral services.
Birth certificate.
Birth certificate.
Also a typed copy of a letter from Arthur Shepherd to Arthur, Jr.
At deaths of William N. B. Shepherd and Emily Mary Phipp Shepherd.
Six original letters have been removed and placed in Reserve. Photocopied versions are available in the collection for access purposes. Access to the originals must be given by the Manuscripts Curator and by appointment. An archivist must remain with the items if being used.
One original letter has been removed and placed in Reserve. A photocopied version is available in the collection for access purposes. Access to the original must be given by the Manuscripts Curator and by appointment. An archivist must remain with the item if being used.
Six original letters have been removed and placed in Reserve. Photocopied versions are available in the collection for access purposes. Access to the originals must be given by the Manuscripts Curator and by appointment. An archivist must remain with the items if being used.
Two original letters have been removed and placed in Reserve. Photocopied versions are available in the collection for access purposes. Access to the originals must be given by the Manuscripts Curator and by appointment. An archivist must remain with the items if being used.
One original letter has been removed and placed in Reserve. A photocopied version is available in the collection for access purposes. Access to the original must be given by the Manuscripts Curator and by appointment. An archivist must remain with the item if being used.
Two original letters have been removed and placed in Reserve. Photocopied versions are available in the collection for access purposes. Access to the originals must be given by the Manuscripts Curator and by appointment. An archivist must remain with the items if being used.
Contains programs, news clippings, articles, a certificate, and other items.
Includes articles on the Cleveland Orchestra, music critiques by Shepherd, and Grazella Shepherd's "Livingroom Learning Courses," among other articles.
Copy of unpublished biography.
Discussion, among other things, of the transfer of the Arthur Shepherd Papers from Case Western Reserve University, Cleveland, Ohio, to the University of Utah, and the publication of his biography of Arthur Shepherd.
Relating to a grant requested by Miller to index the Arthur Shepherd collection and the transfer of the collection to the University of Utah. Other correspondence by Dorothy Van Stipriaan requesting copies of letters from several people with whom Arthur Shepherd corresponded.
Correspondence beginning in January 1975 initiated by Mrs. Ralph (Gladys) J. Comstock of the Idaho Federation of Music Clubs proposing Arthur Shepherd be honored as the composer from Idaho as part of the Bicentennial Parade of America Music. Correspondence continues through March 15, 1976, with plans for the plaque honoring Shepherd in Idaho and inclusion of a Shepherd selection for the Bicentennial American Music Broadcast.
The Arthur Shepherd Composition Contest was established by the Cuyahoga Section of Ohio Music Teachers Association. As chairman of the Association, Frieda K. Schumacher assumed the responsibility of organizing and carrying out the proposal for the memorial to Arthur Shepherd. The material relating to this contest, which continued for ten years, includes a history of the Arthur Shepherd Composition Contest, organizational information, and correspondence and lists of contestants and winners for the ten-year period, 1960-1969.
Business and financial records, contributions, mailing lists, concert programs, and newspaper clippings and publications featuring news of the contest are part of the collection. Also included are three tapes of six prize-winning compositions performed at the Tenth Anniversary Concert, May 4, 1969. A biography of Joseph R. Shepherd is also included.